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楼主 |
发表于 2007-8-5 00:51:02
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简单翻译了一下
水平所限翻译得不咋地
很多地方不知道什么意思
还请高人指正～
When I ventured into the world of extended bass in 1981, I knew that I wanted a tool that went beyond what the market had to bear. Music starts in our mind, not our local music stores. When I first had my bass built, my goal was to play higher notes. I wanted to emulate one of my hero's, Stanley Clarke. I still needed to play bass on this thing so I stayed with a low E string. Low B strings were not available at the time.
1981年当我懵懂地迈进一个更宽广的贝司世界的时候，我发现我所需要的是一种市场无法提供给我的工具。音乐产生于我们的意识中，而不是本地的乐器商行。当我第一次拥有一把为我量身定做的贝司的时候，我的目标是能够演奏尽可能高的音符。我想要仿效我心目中的英雄－－stanley clarke。然而，我仍然需要在(现有的)乐器上演奏低音，因此我加了一根low E弦。而low b弦(对我来说)没有多大用处。
In1983, I moved to New York and it changed my life. I had the lucky chance to meet and hang out with Anthony Jackson. I saw him in session and we'd go to lunch and talk about music. His words changed my life as a musician. He talked about quarter notes and he talked about music. He's the father of the extended bass movement. He had the first 6 string built. After taking in what he shared, I was convinced that the bass was a tool -- It wasn't a weapon, a collector's item or a status symbol. My instrument would be an extension of my musical mind.
1983年，我移居去了纽约，(之后发生的事情)改变了我的一生。我很幸运能够有机会见到anthony jackson。我是在一个会议(?session)中遇见他，之后我们一起吃饭，聊聊音乐。他的话改变了我的音乐生涯。他讲了四份音符，讲到了乐曲(he talked about quarter notes and he talked about music)。他曾经制作了第一支6弦贝司，(被誉为)是拓展贝司运动(the extended bass movement)之父。在自习体会了他分享给我的东西之后，我开始确信贝司是一种工具－－不是一种武器，不是收藏家的藏品，也不是社会地位的象征。我的乐器可以用来再现和拓展我在音乐中想法。
I wanted an instrument that would let me sing as high as Ella and sing as low and sexy as Barry White. I wanted a musical gender bender and the 11 string bass made the most sense to me. I've never been able to play lead guitar because the strings were always to close to me. I love the melody and phrasing that comes from a guitar in a master's hands. My hands are large and sometimes clumsy and I knew that the spacing of the bass would be paramount in my decision to stay with this instrument. I drew what I wanted on a piece of paper and had Chris Benavente build it for me. He did a great job but I have recently revised my original ideal. My dear friend Garry Goodman, ERB pioneer and String Inventor has helped me solve some of the main problems with what I've been searching for.
(那时)我想让我的贝司能够让我演奏到ella那么高，和barry white一样低沉和性感。我想在音乐中释放自己(i wanted a musical gender bender不知道咋翻……)，而11弦贝司对我来说最有意义。我无法演奏主音吉他(lead guitar)因为弦之间的距离对我来说实在是太小了。我喜欢从大师手里的吉他中流淌出来的美妙旋律和???(phrasing不知道咋翻译……)。我的手很大，有时候很笨拙，是贝司的弦距(spacing of the bass)让我坚定地选择了(贝司)这种乐器。于是我把我想要的画在了图纸上，然后请chris benavente为我制作贝司。他做得非常棒，但是我必须改变我最初的想法。我的好友garry goodman，他是ERB的倡导者(???ERB pioneer不知道啥意思)，琴弦发明家(???string inventor)，帮助我解决了很多一度困扰我的重要问题。
11 strings make sense to me. My lowest string is a C#. It sounds super deep in the first position but it comes to life in the third position. I wanted an instrument that could play BASS!! Bass is DEEP!! Bass is LOW. Bass is FAT!! I also wanted an instrument that could play chords and melody. I love to listen to Pat Methany and George Benson. I have no desire to play higher than a guitar. My highest string is Eb. I also wanted to have a variety of soundscapes to play with. I wanted a vast array of tones to play with. I've played a stringed instrument for over 30 years, so I'm accustomed to the touch. I wanted a tool that would be sensitive to my every nuance. The Roland GK3B pick up has been the best MIDI pick up for the task. The tracking of my high strings are great and I have MIDI on my High 6 strings. The higher the string, the better the tracking. I can barely feel the delay when I play. With my bass, I am the bassist/guitarist or the second keyboard player. I want 3 union checks!
11根弦对我来说非常有意义。我最低的弦是C#，一把位(?the first position)听起来非常低沉，然而从第三把位(the third position)开始变得很有活力。我希望我的乐器能够演奏低沉丰满的低音，也能够演奏和弦和旋律。我喜欢听pat methany和george benson。我不期求能够弹得比吉他还要高。我最高的弦是bE。我还希望我的乐器能够弹奏出丰富多彩的音色(??soundscapes)，我想要弹奏大串的音符(a vast array of tones)。我接触弦乐器已经超过30年了，因此我很习惯这种接触。我想要一种乐器能够敏锐地感知我所有的动作细节。roland GK3B拾音器是这一领域最为出色的。我的6根高音弦下安装有midi拾音器，它们对于高音弦的感应(tracking)很出色。弦越高，感应越好。在我弹奏的时候我几乎感觉不到延迟。在我的贝司上，我扮演了贝司手、吉他手甚至第二个键盘手的角色。i want 3 union checks(不知道啥意思……)
My instrument is a stringed version of a modern synth and it's up to me to learn how to play it. There is a growing number of 9-13 string bassist out here in the world. Every one of them paints differently. That's the best thing about music, we can copy or we can create. Jaco said, You can teach a monkey to play my music but you can't get one to create what I play."
我的乐器可以看作一个有弦的合成器，是它促使我学习如何演奏它。现在世界上弹奏9-13弦贝司的演奏家越来越多了。每个人的演绎都截然不同。这对音乐来世是最好的。我们可以临摹也可以创造。正如jaco所云：你可以教一只猴子弹我的曲子，但你不可能让它创造出和我一样的东西。
Here's a song called "Hop, Skip and Jump" (just click on the 'Downlaod') link below. All of the instruments that you hear are from the 11 string bass. I played each part in layers. I built the groove from the drums. I try to phrase drums like a drummer and I approach every sound with that concept. I hope that you enjoy.
这里有一首曲子的链接，名字叫作《sop, skip and Jump》。所有你听到的乐器都是用这支11弦贝司弹奏出来的。我在不同的层面上演奏所有的部分(each part in layers)。我用鼓制作出groove，设法像一个鼓手一样表现鼓～！◎＃￥％…※，我用这些理念处理了每一种音色(approach every sound with that concept)。希望你喜欢。 |
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发表于 2007-8-5 00:46:19
